NSO Pops: Get Out (film with live orchestra)

Thursday, September 20, 2018 8:00 PM

Watch the groundbreaking film in the Concert Hall with the score performed live by the NSO! In this speculative thriller/comedy that won the 2017 Oscar® for Best Original Screenplay, a young African American man visits his white girlfriend’s family estate—only to become ensnared in a more sinister reason for the invitation.

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NSO Pops: Get Out (film with live orchestra)Get Out composer Michael Abels, conductor

Watch the groundbreaking film in the Concert Hall with the score performed live by the National Symphony Orchestra, conducted by composer Michael Abels! In Universal Pictures’ Get Out, the speculative thriller/comedy from Blumhouse (producers of The Visit, the Insidious series, and The Gift) and the mind of Jordan Peele, a young African American man visits his white girlfriend’s family estate—only to become ensnared in a more sinister reason for the invitation.

A social satire that evolves into nightmarish terror, Get Out was a demographic-busting success with both critics and moviegoers, and has been widely praised for providing a nuanced view of racism in contemporary America. Last year, director Jordan Peele took home the Academy Award® for Best Original Screenplay, making history as the first African American to win the category.

Get Out director Jordan Peele on the film’s composer Michael Abels:
“He hadn’t composed a film before, which is what I wanted; I didn’t want someone with a bag of tricks. As a movie, it needs to sound like something we hadn’t experienced before. I sent him links to my favorite horror scores: Philip Glass for Candyman, John Carpenter for Halloween, the score from The Shining, Mica Levy’s Under the Skin, Angelo Badalamenti. We talked about elements of these scores that produced the unnerving aspects. I found him on YouTube with one of his classical works, ‘Urban Legends.’ It wasn’t like any classical piece I’ve heard. It was a hybrid and this film is about creating hybrids. I wanted the music to reflect that. We first focused on that opening track. I knew I wanted black voices in a context we hadn’t heard. He decided to do the voices in Swahili. He came up with something that sounds like a demonic Negro spiritual. It just worked and it informs the rest of the score.”—Variety

Enhance your experience by purchasing special drinks and snacks from our Intermission Bars, which can be taken into the Concert Hall.